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Updated: August 21, 2024
As for men, each of his friends in Argos furnished him with ten apiece out of those few they had, and he armed thirty of his own servants, and hired some few soldiers of Xenophilus, the chief of the robber captains, to whom it was given out that they were to march into the territory of Sicyon to seize the king's stud; most of them were sent before, in small parties, to the tower of Polygnotus, with orders to wait there; Caphisias also was dispatched beforehand lightly armed, with four others, who were, as soon as it was dark, to come to the gardener's house, pretending to be travelers, and, procuring their lodging there, to shut up him and his dogs; for there was no other way of getting past.
O lad!" exclaimed the painter, with a loud laugh, "you have fairly brought yourself into a dilemma at last, dear doctor; for it is well known that your ancient Greek and Roman artists knew nothing at all of the matter, in comparison with our modern masters; for this good reason, because they had but three or four colours, and knew not how to paint with oil: besides, which of all your old fusty Grecians would you put upon a footing with the divine Raphael, the most excellent Michael Angelo, Bona Roti, the graceful Guido, the bewitching Titian, and above all others, the sublime Rubens, the ." He would have proceeded with a long catalogue of names which he had got by heart for the purpose, without retaining the least idea of their several qualifications, had not he been interrupted by his friend, whose indignation being kindled by the irreverence with which he mentioned the Greeks, he called him blasphemer, Goth, Boeotian, and, in his turn, asked with great vehemence, which of those puny moderns could match with Panaenus of Athens, and his brother Phidias; Polycletus of Sicyon; Polygnotus, the Thracian; Parrhasius of Ephesus, surnamed Abrodiaitos, or the Beau; and Apelles, the prince of painters?
The subject does not call, like the last, for dramatic vigor, and the preeminent quality of the work is an exquisite purity and refinement of spirit. If we turn now from the humble art of vase-decoration to painting in the higher sense of the term, the first eminent name to meet us is that of Polygnotus, who was born on the island of Thasos near the Thracian coast.
Whether Polygnotus was equal to Michael Angelo, Zeuxis to Titian, and Apelles to Raphael, we cannot tell. Their works have perished. What remains to us, in the mural decorations of Pompeii and the designs on vases, seem to confirm the criticisms of the ancients.
It follows, therefore, that the agents represented must be either above our own level of goodness, or beneath it, or just such as we are in the same way as, with the painters, the personages of Polygnotus are better than we are, those of Pauson worse, and those of Dionysius just like ourselves.
The later discoveries at Pompeii show the same correctness of design in painting as in sculpture, and also considerable perfection in coloring. The great artists of Greece were both sculptors and painters, like Michael Angelo. Phidias and Euphranor, Zeuxis and Protogenes, Polygnotus and Lysippus, were both.
Polygnotus was not an ordinary mechanic, nor was he paid for this work, but out of a desire to please the Athenians, painted the portico for nothing. So it is stated by the historians, and in the following verses by the poet Melanthius: Wrought by his hand the deeds of heroes grace At his own charge our temples and our Place.
Polygnotus was a man of noble birth, and he did not execute his paintings for money, but gratis, from his wish to do honour to his city. This we learn from the historians and from the poet Melanthius, who wrote "With deeds of heroes old, He made our city gay, In market-place and porch, Himself the cost did pay."
And it may be true the legend as Pausanias tells it 600 years after that the old wooden idol having been burnt, and the worship of Demeter neglected till a famine ensued, the Phigalians, warned by the Oracle of Delphi, hired Onatas, a contemporary of Polygnotus and Phidias, to make them a bronze replica of the old idol, from some old copy and from a drama of his own. The story may be true.
The later discoveries at Pompeii show the same correctness of design in painting as in sculpture, and also considerable perfection in coloring. The great artists of Greece Phidias and Euphranor, Zeuxis and Protogenes, Polygnotus and Lysippus were both sculptors and painters, like Michael Angelo; and the ancient writers praise the paintings of these great artists as much as their sculpture.
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